Why I Adore… Thank God He Met Lizzie

By Sarina Rowell

I am never sure whether it would make a person feel good or bad to hear that either they themselves or something they have created is thought to be severely underrated. Yes, naturally, being classed as underrated would be better than being classed as overrated, but the trouble is that it indicates a dearth of applause that the person in question may not even have realised was their, or its, lot. So, at the risk of causing offence should anyone involved with the motion picture in question be reading this, my vote for Most Underrated Australian Film goes to Cherie Nowlan’s Thank God He Met Lizzie.

In terms of its reception, it’s my belief that Thank God He Met Lizzie suffered from not being what it wasn’t – namely, something that featured Loene Carmen playing a junkie.

I first saw this work at Sydney’s Cremorne Orpheum in 1997, and the trouble with going to the Orpheum was that you always felt slightly ripped off if you weren’t treated to the man playing the olden-time organ, even though you hardly ever were treated to the man playing the olden-time organ. In fact, I think I can only ever recall once being graced with his presence, before a teeming Saturday-night screening of Fatal Attraction. Nonetheless, I remember that when I saw Thank God He Met Lizzie, my good humour quickly returned during its opening scene, when a party guest, apropos of nothing, says to another, ‘You know who I really hate? Prince Andrew.’ This line didn’t make me so happy because I had a particular prejudice against this unfortunate royal, mind you; it made me happy because of the unexpectedness of it. And it is this kind of unexpectedness that makes the film so pleasurable and so profound, with a story that is both as simple and as complicated as stories get.

Guy (Richard Roxburgh) is thirtyish and single, and desperate to be in a serious relationship with a woman, something that he spectacularly fails to accomplish by going to parties and being set up on dates. One morning, however, while out running, he sees a pregnant cat in distress and, while seeking assistance, ends up at the expensive doorstep of a glamorous doctor, Lizzie (Cate Blanchett).

Click to play this clip on the Australian Screen website.

Click to play this clip on the Australian Screen website.

After a brief courtship, they decide to marry, resulting in an elaborate wedding. However, even though Guy is besotted with Lizzie, he finds himself thinking constantly about his previously most significant affair, with Jenny (Frances O’Connor).

Now, Lizzie and Jenny, and their respective relationships with Guy, are of such opposite natures that this triangle could, in lesser hands than those of this particular writer (Alexandra Long), director and actors, feel contrived and unconvincing. Namely, Lizzie has a father who is a surgeon and a mother who would be able to hold her own with terrifying socialite Charlie in Sons and Daughters, while Jenny comes from a cheerfully eccentric working-class family; Lizzie is elegant and hyper-controlled, while Jenny is charming but chaotic; Lizzie is a blonde, while Jenny is a brunette. Lizzie and Guy got together in the sort of romantic way that is tailor-made for being recounted in a father-of-the-bride speech; Jenny and Guy got together because she purposely rammed her pool cue into him at a pub, and later staked him out at a party, after which they had sex for the first time, in a car.

While Lizzie upsets Guy in big ways, she seems much less likely than Jenny to upset him in the small ones, and that is what makes the difference in day-to-day life

Whatever differences the women have, though, Guy becomes equally disillusioned with both of them, although the process is much faster with Lizzie. His relationship with Jenny had curdled over years, turning from affectionate banter and high old times in the bedroom into his becoming chronically irritated at the way in which she never shut up, wouldn’t wash fruit before she ate it, read over his shoulder and left her dirty clothes on the floor, while she resented this pecking, and was hurt by his reluctance to get marry and have children with her.

Click to play this clip on the Australian Screen website.

Click to play this clip on the Australian Screen website.

Regarding Lizzie, though, Guy quickly makes several unpleasant discoveries during merely the course of their wedding day, among them that, while he had believed his meeting with her was preordained and their relationship some sort of miracle, he was really just part of her plan to be married by thirty. Then, once the newlyweds are ensconced in their hotel room, she deals him the worst blow of all.

Aside from anything, Thank God He Met Lizzie is often very funny, as when Lizzie assures her husband-to-be that the priest who will marry them has a great sense of humour and Guy replies, ‘They all do now; it doesn’t prove God exists’. And there is the nuttiness of Jenny’s father (Roy Billing), with his ‘tune I penned in an idle hour’ (a bizarre ode to the Sydney Harbour Bridge); his refusal to accept Latin’s status as a dead language; and his obsession with the Republican movement and statistics about Queen Elizabeth’s use of public money. And then there is the wedding MC, Darren (Jonathan Biggins), referring to himself on his business card as a landscape gardener and ‘specialist in human relations’. It is, of course, also small, exquisitely surprising moments that make it a deeply sad film. When Jenny and Guy finally break up, and he says, ‘The magic’s gone; we can’t get it back’, we are expecting her to insist that they can. Instead, though, she replies, ‘Why would we want to do that?’ This line makes no sense in one way, while also making total sense, in telling us just how much Jenny wants to cling on to whatever it is they still have, whatever state it’s in.

Click to play this clip on the Australian Screen website.

Click to play this clip on the Australian Screen website.

It is this kind of unexpectedness that makes the film so pleasurable and so profound, with a story that is both as simple and as complicated as stories get.

And this brings me to why, most of all, I am crazy about Thank God He Met Lizzie, and that is the extent to which for the past fifteen years or so it has really made me think about its characters, their existences and the wisdom of their actions both within and without the ambit of the film. Namely, I’ve always imagined Jenny having a truly septic time with men throughout her thirties but meeting the honest-to-goodness love of her life in her forties. In the case of Guy and Lizzie, it is equally possible to imagine them undergoing a bitter divorce; staying together semi-miserably for the sake of the children whom we see briefly in the final scene; or, who knows, perhaps even ultimately being happy together and only parted, and reluctantly so, by death. I can’t tell you how many hours I’ve devoted to debating whether Guy was wrong or right to exit from his relationship with Jenny and, yes, on one hand, his having done so is deeply upsetting, especially his lack of appreciation of her spirit and originality, and of how genuinely mad about him she was; on the other, he had fallen out of love with her and, quite possibly, was only ever as much, or as little, in love with her as he was with Lizzie. At the end of the day, just because we, the viewers, are in love with Jenny, it’s not fair to expect Guy to be. As well, the fact that he couldn’t stop thinking about Jenny the more serious his relationship with Lizzie became doesn’t mean anything. I’ve known men who have wept and wailed about exes whom they came to appreciate too late, but all this carry-on didn’t mean they should still have been in those relationships; it was much more to do with the past itself, due to its certainty and, thus, its safety, seeming wildly attractive to them. And, not only had Guy’s and Jenny’s relationship reached the terminal stage, the fact is that Jenny, winsome though she is, didn’t bring out the best in Guy; in fact, she brought out the worst, so that when he was with her, he was fussy, nagging and mean. He is actually a much nicer man when he’s with Lizzie and, yes, he may well have become a lot nastier later in their relationship, but while Lizzie upsets Guy in big ways, she seems much less likely than Jenny to upset him in the small ones, and that is what makes the difference in day-to-day life, let’s face it.

U.S. poster for the film, renamed The Wedding Party.

U.S. poster for the film, renamed The Wedding Party.

In terms of its reception, it’s my belief that Thank God He Met Lizzie suffered from not being what it wasn’t – namely, something that featured Loene Carmen playing a junkie. This seems to have made for a widespread assumption that it was going to be either a bland romantic comedy based around improbable wish fulfilment or a quirkfest based around improbable wish fulfilment, or some vile combination of the two. I’ve known people who have become fans of the film only after having deprived themselves of it for many years because they would rather have cooked and eaten their own feet for breakfast than seen either a bland romantic comedy or a quirkfest, while anyone who saw it and were expecting, and wanting, another Muriel’s Wedding would, I imagine, have been taken aback at what a downer it is and so not given it the positive word of mouth that makes for a hit. But I defy anyone not to be affected by one of Thank God He Met Lizzie’s final lines: ‘The trouble with happiness is, you don’t know when you have it; you remember it.’ And, the thing is, I don’t actually even agree with that statement, but I’ve spent an hour and a half watching characters so beautifully constructed and acted that, no matter their faults, I just can’t stand the thought that, wherever they are now, their best days might be behind them.

 

About Sarina Rowell: Sarina Rowell is a writer and freelance book editor based in Melbourne. She was co-editor of, and a regular columnist on, Tony Martin’s humour website The Scrivener’s Fancy, and a columnist on the ‘Melbourne Life’ page of The Age, and has also written for The Drum and The Kings Tribune. She has her own website, Imagined Slights, and tweets at @imaginedslights.

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Why I Adore… TANGLE

By Sean Lynch

In this latest edition of our Why I Adore series, comedy writer, performer and presenter Sean Lynch waxes lyrical about his love for the John Edwards/Southern Star universe of Australian dramas – most recently brought to life in AACTA nominated drama series Tangle, starring Justine Clarke, Kat Stewart, Ben Mendelsohn and Matt Day.

Tangle maze

The search for truth

If I’m being 100 per cent honest with myself – and it’s rare that I am (as far as I know, I’m a 74 year old Asian woman) — the reason I adore Tangle isn’t so much because of its own stand alone perfection, as it is for its association with sister series Love My Way and, to an extent, the entire John Edwards adult drama universe (from Secret Life Of Us through to Puberty Blues).

Justine Clarke, Lincoln Younes and Eva Lazarro in Tangle.

Justine Clarke, Lincoln Younes and Eva Lazarro in Tangle.

It’s very much the same reason I adore Woody Allen films: you can change the title, character names and packaging all you want, but at their core they’re all part of the same story; all searching for the truth at the centre of characters and ideas created by their writers long before the product in question was even considered.

Where Puberty Blues takes us on a journey from the ages of 10 – 20, Secret Life explored the perils of 20 – 30, and Love My Way looked at 30 -40. With Tangle, Edwards and company take us through the complications of being 40 – 50.

Tangle follows Ally (a pitch perfect “woman who has settled” Justine Clarke), who is married to Vince (charming rough-nut Ben Mendelsohn) and their two children, Romeo (Lincoln Younes) and Gigi (Eva Lazzaro).

In the first series of Tangle (aired on subscription television channel Showcase in 2010) Vince’s best friend Gabriel (Matt Day) has secretly been in love with Ally since their high school days, and when faced with the ultimate moral dilemma (love versus loyalty), Gabriel finds that he is unwilling to cover for (one of) Vince’s affairs with a local school mum.

Mixed in with all of this scandal is the fact that this school mum’s daughter Charlotte (Georgia Flood), is involved with Romeo and his cousin, Max (Blake Davis). Did I mention that Max is the result of an affair between Tim (Joel Tobeck) and Ally’s sister, Nat (Kat Stewart)? Tim and his wife Christine (Catherine McClements) are raising Max as their own, but boy, you wouldn’t know it half the time!

Two 'mums' competing for a son's love. Catherine McClements, Blake Davis & Kat Stewart in Tangle.

Two ‘mums’ competing for a son’s love. Catherine McClements, Blake Davis & Kat Stewart in Tangle.

What we have are three families colliding, connected via a web of love, sex, money and politics – almost to the point of suffering from soap opera syndrome. The number of “Tangles” in question becomes almost TOO coincidental to really be believable at some points. But with characters this well written, that’s just part of the fun.

Recurring themes, continuing pleasure

A talented young cast bring teen storylines to life, in contrast to the 40-something dramas of their parents.

A talented young cast bring teen storylines to life, in contrast to the 40-something dramas of their parents.

Edwards does like his archetypal characters and setups, and Tangle is full of them right from the outset: the uptight passive aggressive woman with control issues (Asher Keddie’s Julia Jackson in Love My Way versus Tangle’s Catherine McClements’ portrayal of Christine Williams); the heroine finding solace with her ex’s brothers (Brendan Cowell’s Tom Jackson in Love My Way versus Tangle’s Kick Gurry as Joe Kovac); a troubled born-out-of-wedlock child dealing with the concept of multiple parental figures and family units (Alex Cook’s Lou Jackson and Sam Parsonson’s Dylan Feingold in Love My Way versus Blake Davis’ Max Williams in Tangle); burgeoning teenage homosexuality (Dylan versus Max); the lingering effects of grief after a sudden death (Love My Way’s tragedy versus Tangle’s own dramatic death)… and that’s hardly the end of the list.

For many, this type of rehashing could be seen as little more than weak writing, a creative lull or even a quick cash-in by producers after the success of a break out hit (which Love My Way certainly was). However, it’s for this exact reason that I adore Tangle.

By “starting from scratch” with Tangle, the writers can continue to explore these deeply flawed, endlessly interesting characters without tainting the legacy of Love My Way. Yes, the stories of the Tangle universe could have VERY easily played out as Seasons 4 – 7 of Love My Way. But this “reboot” meant Love My Way couldn’t ever veer into the territory of “jumping the shark” or, more importantly, having its audience simply grow weary of the characters’ relentless, increasingly unlikely dramas.

It’s very clear the aforementioned situations have unfolded in the real lives of the writers. They pop up far to often in multiple shows for them not to have been based in experience. So, not only are viewers getting a voyeuristic peek at someone else’s’ dirty family laundry… we are also part of these writers’ decade-long cathartic therapy sessions as they try to come to terms with the guilt, pleasure and pain of the events in question. It’s all there on the page. It’s the ultimate fly on the wall experience if you are willing to join the dots and watch several TV shows as if they were one.

Pitch perfect dialogue: understand the rhythms, understand the culture

Tangle is also an impressive an achievement at the dialogue level. Aussies have quite an ear for our own voice, not simply for the literal sound… but the rhythms, the cadence, the intricacies of how words run together.

Matt Day and Kat Stewart having a moment in Tangle.

Matt Day and Kat Stewart having a moment in Tangle.

What may sound perfectly normal and award winningly insightful on paper almost NEVER translates when performed in an Aussie accent. Audiences subconsciously detect something’s not right between: “I love her” and “I love ‘ah”. On paper, it looks stupid and wrong, but it’s the difference between honest and believable portrayals of Australians onscreen and the kind of stilted, clumsy dialogue that leaves actors struggling (a perfect example of which can be seen in Tomorrow When The War Began. Excellent actors speaking words and rhythmic structures that young Aussies simply DO NOT speak in).

In this regard, producer John Edwards and the writers he employs, have been able to rise above the pack. It is no coincidence that Edwards has been behind the most highly regarded Aussie productions for over a decade, because he and his superb writing teams stick to a simple rule: understand the rhythms, understand the culture.

As usual, in Tangle the dialogue and performances are spot on. Everyone delivers here, their performances are nuanced and genuinely believable. These are people you have met; these are conversations you’ve had.

For the love of Ben Mendelsohn

Tangle Ben MendelsohnThere’s a great ensemble cast in Tangle, but the real star is Ben Mendelsohn. Mendelsohn has long been a staple of Aussie productions (and most recently cracked into the USA with Animal Kingdom, The Dark Knight Rises and Killing Them Softly) but never have we been subjected to such a long-lasting dose of his skills as seen in Tangle.

As Vince Kovac, Mendelsohn owns every single scene of the show, even the ones he isn’t in. No matter what the situation, Vince’s sinister, threatening (and oddly charming) vibe exudes throughout every scene, infecting the lives of everyone in both direct and indirect ways.

As a performer, Mendelsohn takes the dialogue into unexpected territory. A fine example of this is towards the end of the last episode of the first season in which Matt Day’s Gabriel finally works up the courage to express his love publicly for Vince’s wife Ally. (Gabriel is everything Vince is not, and vice versa: Romance vs Lust, Brain vs Brawn.)

As Gabriel paces back and forth, spilling his guts melodramatically – Mendelsohn’s Vince sits silently, still, like a lion assessing his prey. He mutters silently, almost as if Gabriel hasn’t earned the respect to hear his words: “You snake in the grass… Me and Ally are bound in ways you can’t even imagine”. In the hands of anyone else a confrontation like this could end up as a fairly stock standard Home & Away level exchange – but Mendelsohn takes it to such a dark, deeply disturbing place. You can see the Tim Burtonesque spooky forest which consumes his mind through his unflinching eyes. It’s raw and gripping and utterly perfect.

A continuing puzzle, an endless universe

Ultimately, why I adore Tangle is simple: it’s only a tiny part of a much bigger puzzle, a picture which will unveil itself in many forms and in many ways in coming years (assuming networks are smart enough to continue commissioning these productions). Tangle is simply a chapter in an ever growing, wonderfully nuanced John Edwards saga that I can only hope and pray continues to expand outwards like this strange old star-littered place we call the Universe.  It doesn’t hold all the answers – it doesn’t even answer all the questions it raises – but just like the lives it depicts… not everything can have a neatly tailored beginning middle and end. All we can do is just acknowledge we are on a journey and – as Happy Gilmore teaches us – “play the ball as it lies”.

… Also, I really just want to be cast in a John Edwards show. Is that too much to ask? So make that happen AFI, that’d be swell.

_____________________________________________________________________________

Sean lynch candy aisleAbout the author:

Sean Lynch is a comedy writer/performer, film critic for various publications throughout Australia and Head Editor at WatchOutFor.com.au and WebWombat.com.au. He was one third of the Aria Nominated (Best Comedy Release, 2006) comedy trio The Shambles, a regular presenter on Channel Ten’s The Circle and most recently gave an Academy Award-worthy performance in his gripping portrayal of “Balloon Guy” in Working Dog’s Any Questions For Ben?. You can follow him on twitter @thatlynchyguy but don’t follow him on the tram or at the supermarket, unless you are offering to pay for his groceries or Myki fines.

Note: Tangle Season 3 is one of the four nominees for the AACTA Award for Best Television Drama Series, competing with Puberty Blues, Rake – Season 2 and Redfern Now. The winner will be announced at the 2nd AACTA Awards Ceremony on Wednesday 30 January, and broadcast on Network Ten at 9.30pm. 

If you enjoyed this piece, you may like Why I Adore… Love My Way, by AFI | AACTA Editor Rochelle Siemienowicz.

Vote for your Most Memorable Screen Moments & Win Tickets to AACTA Awards

MemorableMoments

The  news.com.au Audience Choice Award for Most Memorable Screen Moment is now open for voting, with prizes including tickets to the AACTA Awards Ceremony on Wednesday 30 January.

VOTE for your most memorable moment in Australian film and television from the past year, and you’ll be in the running to party with the stars at one of Australia’s most glamorous screen events, the Australian Academy of Cinema and Television Arts Awards Ceremony on Wednesday 30 January at The Star Event Centre in Sydney.

This year, the Australian Academy has identified 20 of the finest moments that viewers throughout Australia were treated to both on the small and large screens.
The moments contending for this Audience Choice Award were chosen by the Producers of film and television productions nominated for an AACTA Award this year in the following categories: Best Reality Television Series; Best Television Drama Series; Best Telefeature or Mini Series; and Best Film.Also in the running for this award are moments from the top four highest grossing films at the Australian Box Office for 2012, which were not already captured as nominees for the AACTA Award for Best Film.*From Rachael Leahcar’s evocative rendition of “La Vie En Rose” catapulting the singer and reality series The Voice into the public’s consciousness, to parents skinny dipping on Puberty Blues, and from Kath’s revolutionary speech to the people of Papilloma in Kath & Kimderella, to Kerry Packer (Lachy Hulme) venting in Howzat! Kerry Packer’s War, the contending moments provide a diverse selection for audience consideration.

Now it’s time to have your say, by voting in the news.com.au Audience Choice Award for Most Memorable Screen Moment.

The Award will be announced at the 2nd AACTA Awards Ceremony on Wednesday 30th January at The Star’s brand new Event Centre in Sydney. The AACTA Awards Ceremony will be broadcast on Network Ten.

Vote now and go in the draw to win the major prize of a ‘VIP Money Can’t Buy’ experience for you and a friend, including:

  • Two tickets to attend the 2nd AACTA Awards Ceremony and Official After Party.
  • Return domestic economy flights from your nearest capital city and overnight accommodation.
  • A personal appointment in the AACTA Styling Suite including make-up by Napoleon Perdis and Hair by ELEVEN Australia.

5 State Winners will also receive a pamper pack courtesy of Napoleon Perdis and ELEVEN Australia, valued at $350.

Click through to see the memorable moments vying for the Audience Choice Award and then cast your vote to be in the running to win these great prizes.

Competition Closes Sunday 20th January 2013 at 23:59 AESDT.

Australians Going Global in International Screen Awards

2nd-aacta-international-awards-nominees

Earlier this week the nominees for the 2nd AACTA International Awards were revealed, with 14 films competing for awards.

Silver Linings Playbook leads with five nominations, closely followed by Lincoln and Zero Dark Thirty with four nominations each.

With the nominees announced last night for the  85th Academy Awards®  we were thrilled to see many of our own AACTA International Awards nominees among the nominees, especially, of course Australian actors Hugh Jackman (nominated for Best Actor for Les Misérables) and Naomi Watts (Best Actress for The Impossible). Congratulations also to Jacki Weaver (nominated Best Supporting Actress for Silver Linings Playbook). Congratulations too to Australian Makeup and Hair supervisor Rick Findlater for his nomination (alongside Peter King and Tami Lane) for work on The Hobbit: An Unexpected Journey.

We’ll be watching with great anticipation to see which of our talented Australians and which of our AACTA International Award winners will go on to win when the Oscar® winners are announced on February 24 (Monday, February 25 in Australia).

In the meantime, a recap on our own nominees for the 2nd AACTA International Awards:

AACTA INTERNATIONAL AWARD FOR BEST SCREENPLAY

  • Argo. Chris Terrio
  • Django Unchained. Quentin Tarantino
  • Lincoln. Tony Kushner
  • The Master. Paul Thomas Anderson
  • Silver Linings Playbook. David O. Russell
  • Zero Dark Thirty. Mark Boal

AACTA INTERNATIONAL AWARD FOR BEST DIRECTION

  • Argo. Ben Affleck
  • Life Of Pi. Ang Lee
  • Lincoln. Steven Spielberg
  • The Sessions. Ben Lewin
  • Silver Linings Playbook. David O. Russell
  • Zero Dark Thirty. Kathryn Bigelow

AACTA INTERNATIONAL AWARD FOR BEST ACTOR

  • Bradley Cooper. Silver Linings Playbook
  • Daniel Day-Lewis. Lincoln
  • John Hawkes. The Sessions
  • Hugh Jackman. Les Misérables
  • Joaquin Phoenix. The Master
  • Denzel Washington. Flight

AACTA INTERNATIONAL AWARD FOR BEST ACTRESS

  • Jessica Chastain. Zero Dark Thirty
  • Marion Cotillard. Rust and Bone
  • Nicole Kidman. The Paperboy
  • Jennifer Lawrence. Silver Linings Playbook
  • Emmanuelle Riva. Amour
  • Naomi Watts. The Impossible

AACTA INTERNATIONAL AWARD FOR BEST FILM

  • Argo. Ben Affleck, George Clooney, Grant Heslov
  • Les Misérables. Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh
  • Life of Pi. Ang Lee, Gil Netter, David Womark
  • Lincoln. Kathleen Kennedy, Steven Spielberg
  • Silver Linings Playbook. Bruce Cohen, Donna Gigliotti, Jonathan Gordon
  • Zero Dark Thirty. Kathryn Bigelow, Mark Boal, Megan Ellison

The 2nd AACTA International Awards winners’ announcement event will be held in L.A., late January 2013.

To find out more about the 2nd AACTA International Awards, visit this page on the AACTA website.

How are the International AACTA Awards determined?

The jury for these awards is made up of eminent Australian screen professionals working in Australia and the US. Jurors work in a cross-section of the industry and screen crafts, including direction, screenwriting, producing, acting, distribution and exhibition. Screenings were held in Australia and the US. AACTA received access to films not yet released in Australia from local distributors. We consider the same films as other international screen organisations, including AMPAS, so that the AACTA International Awards are relevant, and the Australian industry is therefore part of the shared international screen awards conversation. Of course those contending for the International Awards are not eligible to be on a jury.

Come and party with us! Tickets on sale for 2nd AACTA Awards

Tickets on Sale

The votes are all in. Round 2 Feature Film voting closed last night at midnight, and now we’ve started the countdown to the 2nd AACTA Awards in January where the winners will be revealed and presented with golden statuettes.

You can find listings of all the AACTA Awards nominees  here. If you missed our coverage of the 2nd AACTA Awards Nominations Announcement, it’s all available here.

This year, the AACTA Awards will be held at the brand new The Star Event Centre in Pyrmont, Sydney, and due to the capacity of this new state-of-the-art venue, we have more tickets to offer to the public than we have in past years.

We’d love you to see you there and extend an invitation to members of both the screen industry and the general film and television-loving public, to join us in the celebrations. Book your tickets now, and if you’re not based in Sydney, why not plan a visit to Australia’s most beautiful city? (It’s a fact! Even those of us most passionate about Melbourne have to admit it…). Ticketing information here.

Here’s a clip to whet your appetite, complete with clips from the Inaugural AACTA Awards mashed up with clips featuring this year’s nominees. It’s sizzling!

Here is the information you need to book tickets. We’d love to see you in Sydney in January!

2nd AACTA Awards Luncheon presented by Deluxe

Join us as we honor and celebrate outstanding film and television performers, practitioners and productions over a three-course luncheon, marking the first public event to be held at Sydney’s stunning new venue. An event highlight will be the presentation of the AACTA Raymond Longford Award, recognising the lifetime achievement of producer Al Clark, complete with tributes from those who’ve worked with Al over the last three decades. To see which AACTA Awards will be presented at this event, click here.

Date: Monday, 28 January 2013
Time: Red Carpet Arrivals presented by David Jones from 12.00 noon
Venue: The Star Event Centre, Sydney
80 Pyrmont Street, Pyrmont, Sydney
Dress: Formal.
Tickets: $235

2nd AACTA Awards Ceremony & Official AfterParty

Join film and television actors and practitioners as the industry and the public come together to celebrate Australian screen excellence.

Walk the red carpet with some of the world’s most celebrated screen icons and sit alongside AACTA Award nominees and winners as the nation watches to see which television productions, films and screen professionals will be honoured with an AACTA Award. To see which AACTA Awards will be presented at this event, click here.

Then, celebrate into the night in style at one of Australia’s most glamorous After Parties, complete with champagne, canapes, dancing and DJs.

Date: Wednesday, 30 January 2013
Time: Red Carpet Arrivals presented by David Jones from 1.00pm
Venue: The Star Event Centre, Sydney
80 Pyrmont Street, Pyrmont, Sydney
Dress: Black tie.
Tickets:
Ceremony & Official After Party, Premium Seats: $550
Ceremony & Official After Party: $295
Ceremony Only: $99 SOLD OUT

Click through for more information, and to book tickets to the AACTA Awards. 

Interested in what the new Star Event Centre is going to look like? Why not check out this 3D fly-through video?

Excitement builds towards the 2nd AACTA Awards!

It’s been a huge week here at AFI | AACTA, with the revelation of the all the nominees for the 2nd AACTA Awards, the announcement of the dates and venue of the AACTA Awards, and the commencement of round two voting in the feature film categories to determine the winners. (Round two voting closes at 11.59 EDST on Thursday 13 December. In this round, all AACTA members vote on the feature film nominees which were determined by AACTA’s 15 specialised chapters in round one.)

statuettes for blogCongratulations again to all the nominees, which are spread across 13 Feature Films (out of a possible 23), 16 Documentariesfour Short Animationsfour Short Fiction Films and 32 Television Productions. To find out more about them, visit our website here.

The Winners of the 2nd AACTA Awards will be announced at two events in Sydney at the brand new The Star Event Centre, January 2013:

  • 2nd AACTA Awards Luncheon presented by Deluxe – Monday 28 January 2013. This event includes the presentation of Australia’s highest screen accolade, the AACTA Raymond Longford Award, which will be awarded to producer Al Clark.
  •  2nd AACTA Awards Ceremony & After Party – Wednesday 30 January 2013.

Both events are open to members of the industry and to the general public and tickets can are now on sale. Details here.

In the meantime, here is a gallery of gorgeous images from the 2nd AACTA Awards Nominations Announcement, where a sprinkling of the nominees in acting categories attended the media call, which was hosted by Sigrid Thornton and AACTA Award winners Alex Dimitriades and Diana Glenn (who fittingly played a married couple in The Slap).  Enjoy the pics, and for those of you who are AACTA members, get your skates on to vote in round two!